Easter Egg pendants by Faberge. Note the bunny in the middle. Image from The Art of Faberge by Alexander von Solodkoff.
Holiday jewelry can be fun, although, it has to be understated to be chic. I don’t really go for Christmas baubles but I do like to sport a collection of antique heart charms in February and this time of year I pull out my gold-filled Easter bunny pendant, which is a Faberge copy.
Carl Faberge was the jeweler to the Russian Tsars in the late 19th and early 20th centuries. Known for exquisite quality, he favored enamel and opaque stones like jade and coral. His subjects were also unique – flowers, animals, and eggs.
Russian royalty liked to give each other gifts at Easter. In 1885 Alexander III asked Faberge to make an egg as a special Easter gift to his wife. The very first egg was simple in white enamel with a surprise gold hen inside. A big hit, the Faberge Easter Egg gift became a tradition and carried on by Alexander’s son, Nicholas II. Over time the eggs became more and more elaborate.
The first Faberge Easter Egg, 1885.
As well as the large eggs, miniature egg pendants were also created by Faberge and many other jewelers at the time. The pendants were popular small Easter gifts to distant family members and important friends.
My little bunny is a copy by the Museum of Modern Art for their 1996 Faberge in America exhibition. That exhibit came to the de Young (the old building) and my mother and I attended. I couldn’t resist this charming Easter bunny. I think he’s a quiet adornment to celebrate all that is new and fresh in spring.
(On a side note, click here to read a rather disdainful review of Faberge in America by Kenneth Baker for the San Francisco Chronicle.)
Wishing all OverDressedforLife readers a very Happy Easter.
I always need a hat. Whether I’m traveling, drawing, or going out to a show, whether I’m keeping the sun out of my eyes or the rain off my head, I have a hat for each occasion.
When you’re dealing with an audience that is all about experience versus product, it leads to a redefinition of certain categories … She’s seeking experience over tangible items, which has led to what I call fast beauty. She wants the ability to grab one thing she can try once because she doesn’t want to be locked down forever. In the end, her shopping basket is going to be just as high, but the difference is instead of having a gigantic bottle of one thing, she is going to have a variety of single-use, travel-size, quick items. She wants to be mobile … 
The costume designer dresses somebody from the inside out. We care about what kind of underwear they’re wearing. It’s really important when you’re dressing somebody for a film to kind of think about what they’re wearing after they take their shower; what’s the process; what goes on underneath; what makes sense. And it’s a real internal process. The process of fashion is completely external. It’s disposable. It’s changeable. 
The reason that I am a costume designer is because it is everything that I am interested in, and did on my own as a kid, all put into one job. There’s the drawing and painting of sketches. There’s the fascination with the history of clothes. I was always into fabrics. Costume design is giving an external look to a character. It gives an indication of things unsaid. 
OverDressed for Life 